Monster Mash: ILM’s Jeannette Unveils 'Van Helsing' Hit List
Ellen Wolff reveals how ILM was pushed to the digital limit in reimagining the Universal monsters for Van Helsing.
VFXWorld Magazine
3D Festival Awards 'Nemo' & 'King' Top Honors
The 2004 edition of the 3D Awards names 'Finding Nemo' the best 3D animated feature film; 'The Lord of the Rings: The Return of the King' is crowned with the prize for best feature film visual effects.
'Inspired 3D: Lighting and Compositing': An Interview with Jim Berney
In another excerpt from the Inspired 3D series, Sony Pictures Imageworks Jim Berney is interviewed about lighting and compositing.
Harryhausen Returns to Discuss 'An Animated Life'
Bill Desowitz sits down with the pioneering Ray Harryhausen to discuss the continuing influence of his special effects animation on todays creature features.
NAB2004: An Overview
Bill Desowitz provides an inside look at NAB2004, including some of the latest digital advancements and a revealing case study of Van Helsing.
Big Game Hunting in the U.K.
Mark Ramshaw looks at the realtime 3D asset and coding trends in the U.K. videogames industry at the moment.
'Sudeki': Magic and Martial Arts
Mary Ann Skweres talks with the developers of the role-playing game Sudeki about their creative and technical processes.
The Pixel Priestess: Game'Girl'
The Pixel Priestess looks at how the world of VFX fits into its sister (brother?) universe of games.
A 'Passion' for VFX
Bill Desowitz sits down with Ted Rae, the visual effects supervisor and 2nd unit director on The Passion of the Christ, to discuss the digital challenges of Mel Gibsons surprising biblical blockbuster.
Gaming Cinematics: Adventures in Photorealism and Emotion
Henry Turner investigates the advancing and detailed production of gaming cinematics.
Sketchbook Pro and the Wacom Cintiq 18sx as a Working Pair
John Cawley interviews David DePatie about the creation and evolution of the Pink Panther.
ABCs of DRM
Marty Shindler, ceo of management consulting firm The Shindler Perspective, takes readers through the ABCs of digital rights management.
'Inspired 3D': Blocking Your Animation — Part 2
Continuing our Inspired series, this excerpt continues on the issue of animation blocking.
The Magic Behind 'Ella Enchanted'
Mary Ann Skweres talks to the visual effects wizards who brought the magic to Miramaxs Ella Enchanted.
'Inspired 3D': Blocking Your Animation — Part 1
Continuing our Inspired series, this excerpt addresses animation blocking.
'Hellboy': A Kinder, Gentler Devil Spawn
Henry Turner delves into the influences and techniques that form Hellboy's style and vfx.
What’s Up with Wireless?
Karen Raugust looks at how the wireless gaming market has potential, but faces many challenges.
Photogrammetry: A Study of Image-Based Modeling
Tito A. Belgrave looks at photogrammetry and the creation of photoreal models. Includes QuickTime movie clips!
If Dogs Could Act, They’d be Scooby
Mary Ann Skweres uncovers the challenges of refining Scooby so he behaves more convincingly as a 3D canine with human characteristics in Scooby-Doo 2: Monsters Unleashed.
'The Ladykillers' and the Evolving Challenges of D.I.
Ellen Wolff looks at the use of digital intermediate technology on the Coen brothers new film, The Ladykillers.
'Lorenzo': A ‘Moving Painting’ with a Wild Tail
Bill Desowitz gets a first look at Disneys new animated short, Lorenzo, about a narcissistic cat that boasts a unique look.
'Hidalgo' and the Digital Empowerment of Previs
The future is now for visual effects supervisor Tim Alexander, who learned that running a concurrent effects previs on Hidalgo helped to establish a successful digital pipeline.
The Future of Motion Capture
Henry Turner investigates the newest developments in motion capture and motion control, which brings the technology on-set. Includes a QuickTime movie clip from Hidalgo.
'Tripping the Rift': The New Bad Boy in Animation
CGI meets sexy sci-fi in Tripping the Rift, Sci Fi Channels first adult-oriented cartoon.
The Pixel Priestess: Art Has Bumped into the Ceiling of Technology
In her debut Pixel Priestess column, Jill Smolin ponders the tension between art and technology in vfx and where we go from here.
